Auditioning the Audition Process

I would like to thank the panelists for their thoughtful, intelligent, and well-written contributions. I think we may have succeeded in shedding more light than heat – not something that often happens in this business.

I have two questions for all the panelists to wrap up this panel. The first is for them all to answer the “instant poll” question about this VPD; namely,”An orchestra audition consisting of a movement from a concerto and excerpts is sufficient to select the “best” person for the job” [Agree or disagree]. If their answer (like most of those who have taken the poll) is “disagree,” then I would ask them what single change in the process could most improve the process. (I hope no one will reply that most auditions aren’t done that way, as most auditions in the US and Canada are done that way.)

The second question comes from the implication in several of the panelists’ posts that the members of an orchestra will make better tenure decisions than will the orchestra’s music director. I am not going to ask who the panelists think should make those artistic decisions; that’s a question that would have to balance artistic interests against orchestras’ need to function not only as artistic entities but also economic entities and as workplaces. (Any honest manager, union official, or orchestra committee member can cite instance upon instance where those three identities conflict.)

But I would ask whether or not they think orchestra musicians, acting as an audition committee or an entire orchestra, would make better decisions about hiring and tenure than would music directors. Why would their “ownership” of the orchestra lead them to act more wisely than the music director’s “ownership” would lead her to act – or vice versa?

I also have a question specifically for Nathan and Fergus. Nathan wrote:

“Inherent in [Robert’s] question is an assumption that US orchestras are somehow doing something wrong because they may not be denying tenure at the same rate as the Berlin Philharmonic.”

Actually that’s not true, although I do believe, based on my personal service on audition/tenure committees, that US orchestras are overly reluctant to reverse the initial decision to hire. (I know I am.) But it seems that Berlin may be overly willing to “un-hire” new members. Certainly the fact that Berlin throws 1/3 of its hires back into the water is not only a hardship on those thrown overboard but could be seen to call for more careful hiring in the first place. Hiring the right person the first time is obviously both kinder and more efficient.

So I would ask Nathan what he would consider a rate of tenure denial that whatever audition system he favors 1) should produce; and 2) is likely to produce. And I would ask Fergus if he can imagine any improvements in the “German” system that might result in more new hires retaining their jobs.

But mostly I’d like to reiterate my thanks to the panelists, who have given me new faith in the ability of this field to have a constructive discussion on important issues.